There are more independent record labels springing up throughout the underground music scenes of the world every year, certainly more than one can keep track of on one’s own, let’s be honest. Only problem is, most of them are either fly-by-night operations, as ephemeral as they come, or they simply have poor taste and release large quantities of bad music, polluting what would otherwise be a fairly uncorrupted stream. So while independent practices are admirable, not to mention necessary in spreading some of the exceptional music that comes from the underground, it takes a certain kind of person to own and operate such a label, not only with a taste for the exceptional but also a lot of dedication and know-how. And that is why I exceedingly respect and appreciate record labels like Hillgrass Bluebilly out of Texas (the dirty foot family), Alive Naturalsound out of San Francisco, and Voodoo Rhythm out of Switzerland, to name a few.
A start-up label out of Baltimore, Maryland, Farmageddon Records, has been creating quite a buzz over the past year, finding fans among both roots music enthusiasts and members of the independent press alike. Saving Country Music’s Kyle “Triggerman” Coroneos has had nothing but good things to write about Farmageddon in his articles, and so have a handful of featured bloggers at No Depression. Farmageddon has earned itself a number of supporters over the course of the past couple of years, and there are undoubtedly more down the road…if they keep doing what they’re doing, that is, without compromise, without loosing focus of the music, and without straying from the path.
Founded by Darren Dorlarque, Farmageddon has done much in a very short time — releasing music by some of the roots underground’s notable artists, such as Jayke Orvis (formerly of .357 String Band), The Goddamn Gallows, James Hunnicutt, Slackeye Slim, Highlonesome, Black Eyed Vermillion, and Rachel Brooke. An impressive list of today’s pickers and singers, to be sure. But these bands and singer/songwriters aren’t just on the label, since they also take part in each other’s projects, they provide artwork, they pitch in with the showcases, and overall they keep the gears well-greased. Thus, Farmageddon is an artist collective and co-op of sorts in addition to a label. Good music, good friends, and good times. And that in essence is what they at Farmageddon have started referring to as the New Roots Order.
Just this week I had the opportunity and pleasure of interviewing Darren Dorlarque, owner and operator of Farmageddon Records. What follows is that content in its entirety.
For starters, I suppose it would make sense to ask you what prompted you to put together Farmageddon Records?
Farmageddon Records happened pretty organically. I was promoting shows in Montana for like six years, and it really just fell into place. I have always been interested in organizing recordings and had been doing a lot of live recordings at the shows I promoted. Through the music promoting business I was fortunate enough to make a lot of contacts in the scene and had the opportunity to meet some amazing musicians.
When I left Montana I did a bit of traveling, making my way out to Baltimore, Maryland to spend some time with a good friend, Johnny Lawless. He and I always had a good time when he came through Montana on tour. He was the doghouse bass player for J.B. Beverley & The Wayward Drifters. Over the years we became close friends, so it only seemed right that I visit him. Jayke Orvis, another good friend who at that time had just parted ways with The .357 String Band. Orvis had picked up a banjo, electric guitar and his mandolin and started playing with The Goddamn Gallows. Johnny and I went out to visit Jayke in Pittsburgh, Pennsylvania for a few days, as Jayke and I were about to head out on tour with The Goddamn Gallows. So one night Jayke and I were at a bar early in the evening and I asked what he planned on doing with his career, and I pitched him an idea about doing a solo record since I knew he was sitting on some great songs. He said, “Yeah, sure…but who’s gonna pay for that?” So I made a few phone calls to James Hunnicutt, Johnny Lawless, and Banjerdan. I also buzzed J.B. Beverley, who had a recording studio set-up in Richmond, Virginia at the time.
After the two-week Goddamn Gallows tour was over, Jayke was in the studio knocking out It’s All Been Said. There was no talk of a real label or anything, but after seeing how powerful the end result of the music was from a talented bunch of guys having fun doing what they do, and seeing a camaraderie between friends like that, it only seemed natural to continue doing more things on that level. The group of musical friends I spent my time around inspired me to get off my ass and make something real happen. I had always admired Alan Lomax, the field recording guy who worked for the Library of Congress and made the first recordings of Muddy Waters at his cabin. I also found the early years of Sun Records to be inspirational. I have a lot of respect for the the ones who paved the way, and did it without the internet.
In browsing through the Farmageddon site material I have come across the term New Roots Order. It stands out like an intriguing promise of sorts. What exactly are you attempting to convey with the coining of such a phrase?
I guess it really comes down to taking our roots music back, almost like a union. The core strength of everything we do is rooted in a brotherhood which takes care of itself, almost like a music co-op. We look out for one another, do everything we can to survive as a group, and a lot of our artists pitch in and help make this happen. In a way, I would like to think that our guys have raised the bar in what they do. They are some inspiring human beings. For an indie label to have a chance at making it and surviving there need to be many key elements to make that happen. No one really had any money when we started this up, but the ultimate deciding factor was what the people liked. I think people are sick of the radio regurgitating plastic music and dictating what you are “supposed” to listen to. I think they want options. And I think real music has a future with the masses again.
Farmageddon’s catalog is an usually fine one for a start-up label, to be sure, with such artists as James Hunnicutt, Jayke Orvis, The Goddamn Gallows, Highlonesome, Rachel Brooke, Slackeye Slim, and Black Eyed Vermillion…basically, some of the who’s who of today’s underground roots scene, and indeed some of my personal favorites. In short, what criteria do you go by in choosing artists to include in the Farmageddon camp?
We definitely don’t have an agenda with or how we choose a band or artist. Most of the Farmageddon Records roster is really a big group of people who were all friends before it started; there were no strangers in the beginning. We just kind of asked people if they wanted in, and many jumped on board right away. At this point in time we aren’t proactively looking for bands; they just fall in our lap. It happens how it’s supposed to. There isn’t one band or artist on the label that got on by sending in a demo. We really want to grow slowly and stick to natural progression. I think growing too fast would ruin us.
Do you own and operate the label all by yourself, or do you have others around to help you out with it all?
Other than me, there are a lot of people who do things to keep the label going and running smooth. My partner Chuck Spangenberg is based out of West Yellowstone, Montana, and he spends countless hours taking care of our banking, shipping…general stuff you have to do to survive. His wife Konny is about to take over consignment and record store sales. Angie Chambers, who has been around since we started our webpage in July of 2010, takes care of our website, doing her very best to keep it current, and she is also involved in music promotions. Joe Perreze (of the Perreze Farm) handles a lot of our art and layout stuff, and his father Matt Perreze just did the art for Slackeye Slim’s new album. Red Kilby, close friend to Danielle Colby, has also come on deck to help make light of our many random tasks. Graham Lindsey has been doing some writing jobs for us, making sure our band bio’s are done up well. Kurtis Machler at Million Dollar Sound in Austin, Texas has taken on the mastering for most of our projects and works with us regularly in making sure the releases sound great. Our newest edition is an old friend, Jayme Rossman, who will be running our screen printing shop in Montana soon. Most everyone is family. We have some new faces coming on deck soon as well, who will be handling our marketing, distribution and general label business. Wendi Story, Janet Archer, Chad Biorn, and a handful of others help us out in so many way. It’s basically all family and friends taking initiative to make it happen and keep it running.
Lately I’ve noticed Farmageddon has been getting a good deal of press, and a lot of favorable mention throughout the scene in general.Which release, or releases, have brought about the most recognition for the label so far?
I know Jayke’s album really generated a lot of interest in the beginning, but as of now I think people like the label as a whole. They like what we’re doing. I really don’t attribute any of our success or the attention we are getting to any one project in particular. I think Farmageddon Records is a refreshing hope for people who play music, people who listen to music, and those who are tired of the radio. That is my take on the attention.
Someone actually told me the other day that they are a fan of the label because every release they’ve bought has been awesome, and that people dig it when they can rely on a label to release great music, even if they haven’t heard of the artist.
In this mad age of never-ending technological progress, constant upgrades, and computerized and digitalized everything, in which music has become an invisible commodity, and in which such things as cover art and liner notes and hard copy releases are quickly being replaced by downloads…the whole MP3 player and iPod craze of the Myspace Generation. It therefore stands to reason that the present music world is a shaky and rapidly changing climate. How do you feel about these changes…these travesties of music consumerism, in my opinion? And does Farmageddon balance the scales between the new and old ways of doing things?
Technology is no enemy to our label. We aren’t really going with the flow like we were told to in the beginning. Myself and my partner Chuck absolutely despise the digital download revolution, as it takes all the fun out of unwrapping a CD or record, reading the liner notes, putting it on the turntable, and owning a hard copy. Chuck is an old punk rock guy, and he still finds the street-core labels that sell cassette tapes. We have adapted in ways, like offering a piece of vinyl that includes a digital download card. Some of our artists sell digital downloads, but I really can’t see us compromising much more than we have. We will obviously try to find a balance, but we would rather sell a CD or record. I think a lot of our fans feel the same way about it. They like going to the mailbox to get their next piece of music.
So far I have personally listened to the Goddamn Gallows and Black Eyed Vermillion record, Swappin’ Spit, and the Rachel Brooke album, Down in the Barnyard, both of which struck me as far superior releases compared to most other label releases these days. In fact, the only two labels with which I can truly place Farmageddon on the same level are Hillgrass Bluebilly and Voodoo Rhythm. Do you oversee the recording processes of the artists, or do you simply evaluate the submitted material after the fact when choosing releases for Farmageddon?
The way I see it, if we have confidence enough to bring someone in, we should leave the rest up to the artist. It’s their music, they are sharing it with the world, and it should be on their terms and no one else’s. I like to hear stuff, and I throw my opinions at them, but ultimately it’s all up to them. I think to much creative control has had a large part in why pop music sucks worse than ever.
Pretty soon, you will be releasing the latest by gutterbilly hobocore troupe The Goddamn Gallows, 7 Devils, if I’m not mistaken. In recent years, they have gained a huge fanbase and tour following throughout the States and beyond. I myself had the pleasure of attending one of their shows during their Ghost of th’ Rails tour. How is the album coming along? And how have you prepared in anticipation of its doubtless success?
The Goddamn Gallows have a very loyal fan base. They love what they do and it shows. They have earned every fan the hard way — touring their asses off, and remaining humble and thankful for every bit of good fortune that finds them. We are currently pre-selling 7 Devils, and we aren’t complaining. I know the second the album drops so will people’s jaws. It’s by far their best studio effort. Every song on it is solid. I think it will pick up a lot of steam by summer. Currently it’s being manufactured, and it will be available in about two or three weeks. We hope to have the means to press it on vinyl and have that on sale by fall.
What else of note, other than the Goddamn Gallows’ release, is on the Farmageddon menu in the coming weeks, months, etc?
Highlonesome just recorded a new album that is being mastered as we speak. Slackeye Slim’s highly anticipated second release is about to hit production as well. We are looking forward to recording an album with Ghostwitch here soon. James Hunnicutt is sitting on material that will hit the studio in fall, including a back-up band. We also have a project in the works with The Perreze Farm, but dates haven’t been solidified. We are going to re-release The Motherfuckin’ Saints’ first album A New Kind Of Patriot on vinyl before the year’s end. All kinds of stuff in the works or planned to happen. We still take things one day at a time, though. We aren’t sitting on enough money to make it all happen as of yet.
Lastly, if there’s anything I failed to cover, or if there’s anything you would like to discuss or express, etc, by all means feel free to do so now. The floor is all yours, Darren.
I would first like to thank you for taking the time to interview me. I guess in closing, I would really like to thank all of the people that support the label, promote the label, and those folks who take care of our bands when they are out on the road…you are a great bunch!
We aren’t going anywhere, and we will stay true to what the people want — real music made by real people!
